Many sports training devices exist and some are designed for improving performance in certain activities and avoiding injuries. The incidence of foot and ankle injuries in dancers is among the highest in any physical activity, and this is often due to improper foot position and insufficient strength and stability. Dancers often lost critical training and performance time due to these injuries and may be forced to end their careers prematurely.
Some of the training devices configured for use in ballet are known as ballet stretch devices. Such ballet stretch devices are configured to increase flexibility in the top of the foot to allow a dancer to pointe the foot with an increased range. Experienced ballet dancers consider such devices problematic in that this kind of forceful stretch training can consequently weaken the ankle if not supplemented by strength exercises. Moreover, such ballet stretch devices cannot be worn while dancing.
Ballet dancers typically do not want to use a support device to fix a bad habit because such a device would make the dancer too reliable on the device for proper technique and placement. Certain ballet dancers may also use ankle braces or foot braces, but such braces do not spread the load appropriately along the medial and lateral parts of the ankle. Furthermore, such braces cannot typically be worn with a pointe shoe or a flat canvas shoe.
When ballet dancers go en pointe, a tremendous load is usually placed on the foot and ankle, and dancers (particularly those who have recently begun training en pointe) typically have a natural tendency to supinate their feet excessively, displacing the load onto the lateral tendons and ligaments in the foot and ankle. This is known as “sickling” and can occur when dancers stand on flat feet, stand en pointe, or hold a foot aloft. Dancers must consciously remember to hold their feet in the proper position, allowing the necessary muscles to strengthen and maintain the proper position with less effort. However, because there exists a natural tendency towards supination of the feet, and because young dancers are so eager to train en pointe without having developed the proper strength and technique, injuries are unfortunately common.
As such, a strong need exists for a device that causes dancers to consciously correct the habit of supination. Moreover, a strong need exists in the ballet market for training devices that focus on strength development, and that can be worn while dancing in class or during performance.